Nachos NY's Guac Rock is back for its third year aboard the Jewel with 3 bands and a lot of guacamole. This years acts include Moon Hooch, North Highlands and the Dan Piccoli Trio, guacamoles from winners of Nachos NY's Guactacular, and beers lovingly provided by Brooklyn Brewery.
VERY LIMITED TICKETS AT THE DOOR, GET THERE EARLY!
GUAC ROCK 2012!
Dan Piccoli Trio/
Aboard The Jewel
Monday, July 16, 2012
Rocks Off Concert Cruise Aboard The JewelBoards: 7:00pm / Departs: 8:00pm
Advance: $20 / Day of Show: $25
This event is 21+
I’m realizing more and more every day that you can make anything happen for yourself if you really want to,” says Moon Hooch horn player Mike Wilbur. “You can change your existence by just going out and doing it, by taking simple actions every day.”
If any band is a poster child for turning the power of positive thoughts and intention into reality, it’s the explosive horn-and-percussion trio Moon Hooch. In just a few short years, the group—Wilbur, fellow horn player Wenzl McGowen, and drummer James Muschler—has gone from playing on New York City subway platforms to touring with the likes of Beats Antique, They Might Be Giants, and Lotus, as well as selling out their own headline shows in major venues around the country. On ‘Red Sky,’ their third and most adventurous album to date, the band uses everything they’ve learned from their whirlwind journey to push their sound to new heights, bringing together the raw, transcendent energy of their live performances and the sleek sophistication of their studio work into a singular, intoxicating brew that blends elements of virtuosic jazz, groovy funk, and pulse-pounding electronic dance music.
“I think ‘Red Sky’ is more focused than any of our past albums,” reflects McGowen. “We practice meditation and yoga, and I think that we’re more evolved as people than we’ve ever been right now. That evolution expresses itself as focus, and through focus comes our energy.”
It was two years ago that the band released ‘This Is Cave Music,’ an exhilarating thrill ride that earned rave reviews from critics and fans alike. NPR hailed it as “unhinged” and “irresistible,” praising each musician’s “remarkable abilities” and naming their Tiny Desk Concert one of the best in the prestigious series’ history. The album followed their 2013 debut, which had Relix swooning for their “deep bass lines, catchy melodies and pounding rhythms,” while the Wall Street Journal celebrated their “electronic house music mixed with brawny saxophone riffs.” Though the band—whose members initially met as students at the New School—turned heads in the music industry as relative unknowns with a charismatic, unconventional sound (they play with unique tonguing techniques and utilize found objects like traffic cones attached to the bells of their horns to manipulate tone, for instance), they were already a familiar and beloved sight to straphangers in New York, who would react with such joy and fervor to their impromptu subway platform sets that the NYPD had to ban them from locations that couldn’t handle the crowds. NY Mag once referred to their sound as “Jay Gatsby on ecstasy,” while the NY Post fell for their “catchy melodic hooks and funky rhythms,” saying they had “the power to make you secretly wish that the short [subway] wait becomes an indefinite delay.”
While the band’s busking days are behind them now, the lessons they learned from all those platform parties helped guide their approach to recording ‘Red Sky.’
“What we discovered playing in the subway,” McGowen explains, “is that the more focus and the more energy you put into the music, and the more you listen to everything around you and integrate everything around you into your expression, the more the music becomes this captivating force for people.”
Recorded at The Bunker studio in Brooklyn, ‘Red Sky’ is nothing if not captivating. The album opens with the tribal urgency of the title track and proceeds, over the next 45 minutes, to utterly demolish any and every possible barrier that could stand between your ass and the dance floor. On ‘Shot,’ Wilbur sings a stream of consciousness vocal line over an airtight groove, while “Psychotubes” channels the apocalyptic fire and brimstone of death metal, and the staccato intro of “That’s What They Say” gives way to a gritty, late-night come-on of a saxophone line that’s far more suggestive than any whispered words ever could be.
Though the band is heavily inspired by electronic music, they made a conscious effort to use as little in the way of “studio tricks” as possible on ‘Red Sky,’ aiming instead to capture the sound of their live show, which has evolved significantly from their days underground.
“When we were playing in the subways, we were playing entirely acoustic,” explains Wilbur. “It was just two saxes and a drum set. Then Wenzl acquired a baritone sax and we all started getting into music production and incorporating electronic music into our live shows.”
At their performances, the band now plays through what they call a Reverse DJ setup, in which the live sound from their horns runs through Ableton software on their laptops to process recorded effects onto the output. In addition, to flesh out their sound on the road, the band began utilizing Moog synthesizers, an EWI (an electronic wind instrument that responds to breath in addition to touch), and other more traditional instruments like clarinets. Wilbur added vocals to his repertoire on some tracks (something the subway never allowed him to do), and Muschler, meanwhile, traveled halfway around the world to expand his percussion skills.
“I went to India, and the first morning I woke up, it was like 5am, and I followed this music along the banks of the Ganges,” he remembers. “I eventually ended up finding this amazing tabla player, and after his performance, I asked him for lessons. He agreed, and I went for daily lessons with him and another guy for the next two weeks. After that, I took a train to Calcutta, where I met with the guru that I’d studied with in New York, and I did morning lessons with him and practiced throughout the day. It was an incredible musical immersion experience.”
The band members all speak reverently of meditation and consciousness and the role it plays in their music (McGowen believes his introduction to it, spurred on in part by Wilbur and Muschler, saved his life), but equally close to their hearts are the environmental causes they champion. Moon Hooch tries to live up to their green ideals while traveling as much as possible, playing benefit shows, supporting local farmers and co-ops, participating in river cleanups, filming informative videos for their fans, and more. The band even runs a food blog, Cooking In The Cave, in which they highlight the healthy, sustainable, organic recipes they utilize with their mobile kitchen setup on tour.
For the members of Moon Hooch, commitments to consciousness and environmentalism and veganism and philosophy and peace aren’t separate from their commitment to music, but actually integral parts of it. It’s all tied into that same core approach that led to their discovery on the subway platform: try, even if it’s just a little bit every day, even if it’s just with the power of your mind, to make the world less like it is and more like you wish it could be.
“I’d say all of our songs express the essence of that kind of energy,” concludes McGowen, “because before you can even think any thoughts, there exists the energy that drives those thoughts, and that energy is intention. I feel like we’re putting the intention of positive change constantly into our music. While we’re playing, I often see the future emerging: skyscrapers getting covered in plants, frowns turning into smiles, fistfights into hugs. I can see the energy of love and collaboration and trust replace the energy of fear, hatred and violence.”
It’s an ambitious vision, to be sure, but considering the band’s track record at turning their thoughts and dreams into action and reality, perhaps it’s only a matter of time.
North Highlands formed in Brooklyn in the early summer of 2009. The group originally followed the vision of singer and principle songwriter Brenda Malvini. Her shy demeanor and exclusive dedication to bedroom sets for audiences of her closest friends kept her relatively unknown until friend and DIY promoter Ric Leichtung declared that he had booked her a show in little over a month. With five short weeks, in the midst of the lazy sun and the honking of taco trucks, Malvini collected a small group of musician friends to help give life to her sketches. What ensued in the weeks to follow took on a life of its own, eventually becoming North Highlands.
Though North Highlands hails from Brooklyn, their music is most easily placed among the baroque and americana indie folk of the Mid and Northwestern states. Though at the heart of the music is Brenda’s swooning vocals and minimalist piano composition, the music is an amalgam of the each members’ unique stylistic approaches. Mike Barron’s guitar, though hinting of the twang of indie folk tradition, most closely compares to the methodical and explosive playing found in post rock. Jasper Berg and Andy Kasperbauer, on drums and bass respectively, mix traditional rock rhythms with those of South Africa and the West Indies. Multi-instrumentalist Daniel Stewart adds perhaps the most important element to the music: his weeping violin and pulsing mandolin playing add the Baroque to North Highland’s music, giving the music on a whole the impression of chamber orchestra versus traditional rock quintet.
Sugar Lips, the bands debut EP, was released December 3rd, 2009, at Cake Shop in Manhattan’s Lower East Side. Recorded in Jasper’s bedroom and a basement in the same summer heat the band formed in, the music evokes both playful whimsy and earnest fervor in its simple but beautiful pop landscapes. There is a caprice and tenacity to the songs that is rarely matched in indie music today; a soulfulness and honesty in live performance that convinces the audience that the songs they are hearing very well could be precipitating from the ether on the spot. Though the band’s first shows were played at DIY venues such as Bushwick’s Market Hotel, the band quickly set itself apart by its quietly complex musical arrangements and the strong melodic base created by Malvini’s voice. The timbre of her voice mixed with the other members’ rich backdrops creates a sound that is nearly impossible to ignore, and her strong but simple lyrics communicate a highly personalized storytelling that is rarely found in Brooklyn’s lo-fi, electro heavy music scene
This cruise is aboard THE JEWEL and will depart from Skyport Marina - East 23rd Street & FDR Drive (EAST side).
We will be boarding and departing at the times listed on your ticket and are not able to allow refunds if you miss the boat. So don't be late - it sure ain't pretty to be standin on the dock, watching the party sailing away!
There are cash bars on board so make sure to swing by the ATM on your way to the boat. There will be food available for purchase. All cruises are 3 hours unless otherwise noted. If you have any questions about the show or your purchase, please contact Sancho Dominguez at firstname.lastname@example.org or check out our FAQ page on www.rocksoff.com
Please note that all shows are 21 and over and ID will be required upon boarding the boat
*RAIN OR SHINE!*
*LAST CALL for the boats is 5 minutes before departure. After this time your tickets may be forfeited and you may not be able to board the boat, so please arrive early*